Syllabus - nie.lk OrienMusic.pdf•Meend ,Gamak ,Kan, Murki, Upaj, Jala, Mukada, Thihai,(theoretical...

Oriental Music

Syllabus

Grade - 12/13

(Implemented from 2017)

Department of Aesthetic EducationNational Institute of Education

Maharagamawww.nie.lk

CONTENTSPage

1.0 Introduction i

2.0 National Goals ii

3.0 Basic Competencies ii-iv

4.0 Common Competencies of the subject Oriental Music v

5.0 Relationship between National Goals and Common Competencies of the subject

Oriental Music vi

6.0 Oriental Music - Syllabus 1-14

7.0 Assessment and evaluation 15

8.0 School policies and programmes 16

9.0 Syllabus Committee 17

i

Under the new education reforms, grade 12 syllabi are under the implementation from the year 2017.Under this syllabus 11 main competenciesthat should be developed in the student through the study of oriental music have been introduced.

Although the prescribed subject content has been developed on the basis of singing , all the sections can be practically studied using a prescribed note /playinginstrument if a student desires to study this instrument if a student desires to study this subject in relation to playing.

It is expected that subject content learnt in grade 6-11 are studied in grater depth at the advanced level. moreover , this syllabus has given guidenceto use music for one’s creative work, study the physical, biological and psychological aspects of music and also to give an underpinning to creat musical worksusing the computer.

In implementing this curriculum, it is the responsibility of the teacher to give direction to students to broden their prespectives by using Internet and library inaddition to the knowledge given in the classroom.

1.0 Introduction

ii

2.0 National Goals

The national system of education should assist individuals and groups to achieve major national goals that are relevant to the individual and

society.

Over the years major education reports and documents in Sri Lanka have set goals that sought to meet individual and national needs. In the

light of the weaknesses manifest in contemporary education structures and processes, the National Education Commission has identified the

following set of goals to be achieved through education within the conceptual framework of sustainable human development. The National

Education Commission sees the realisation of these goals as its vision for the education system.

(i) Nation building and the establishment of a Sri Lankan identity through the promotion of national cohesion, national integrity, national unity,harmony, and peace, and recognizing cultural diversity in Sri Lanka’s plural society within a concept of respect for human dignity.

(ii) Recognising and conserving the best elements of the nation’s heritage while responding to the challenges of a changing world.

(iii) Creating and supporting an environment imbued with the norms of social justice and a democratic way of life that promotes respect for humanrights, awareness of duties and obligations, and a deep and abiding concern for one another.

(iv) Promoting the mental and physical well- being of individuals and a sustainable life style based on respect for human values.

(v) Developing creativity, initiative, critical thinking, responsibility, accountability and other positive elements of a well- integrated and balancedpersonality.

(vi) Human resource development by educating for productive work that enhances the quality of life of the individual and the nation and contributesto the economic development of Sri Lanka.

(vii) Preparing individuals to adapt to and manage change, and to develop capacity to cope with complex and unforeseen situations in a rapidlychanging world.

(viii) Fostering attitudes and skills that will contribute to securing an honorable place in the international community, based on justice, equality andmutual respect.

(Extracted from : National Education Commission report, 2003)

iii

3 .0 Basic Competencies

The following Basic Competencies developed through education will contribute to achieve the above National Goals.

(i) Competencies in Communication

Competencies in communication are based on four subsets: Literacy, Numeracy, Graphics and IT Proficiency.

Literacy : Listen attentively, speak clearly, read for meaning, write accurately and lucidly and communicate ideas effectively.

Numeracy : Use numbers for things, space and time, count, calculate and measure systematically.

Graphics: Make sense of line and form, express and record details, instructions and ideas with line, form and colour.

IT proficiency:Computer literacy and the use of information and communication technologies (ICT) in learning, in the work environment and in

personal life.

(ii) Competencies relating to Personality Development

- Generic skills such as creativity, divergent thinking, initiative, decision making, problem solving, critical and analytical thinking,

team work, inter – personal relations, discovering and exploring ;

- Values such as integrity, tolerance and respect for human dignity;

- Emotional intelligence.

(iii) Competencies relating to the Environment

These competencies relate to the environment: social, biological and physical.

Social Environment -Awareness of the national heritage, sensitivity and skills linked to being members of a plural society, concern for

distributive justice, social relationships, personal conduct, general and legal conventions, rights, responsibilities,

duties and obligations.

Biological Environment -Awareness, sensitivity and skills linked to the living world, people and the ecosystem, the trees, forests, seas,water,

air and life – plant, animal and human life.

iv

Physical Environmen - Awareness, sensitivity and skills linked to space, energy, fuels, matter, materials and their links with human

livin,food, clothing, shelter, health, comfort, respiration, sleep, relaxation, rest, wastes and excretion.

Included here are skills in using tools and technologies for learning, working and living.

(iv) Competencies relating to Preparation for the World of Work

Employment related skills to maximize their potential and to enhance their capacity.

- To contribute to economic development.

- To discover their vocational interests and aptitudes,

- To choose a job that suits their abilities, and

- To engage in a rewarding and sustainable livelihood.

(v) Competencies relating to Religion and Ethics

Assimilating and internalising values, so that individuals may function in a manner consistent with the ethical, moral and religious modes of conduct

in everyday living, selecting that which is most appropriate.

(vi) Competencies in Play and the Use of Leisure

Pleasure, Joy, emotions and such human experiences as expressed through aesthetics, literature, play, sports and athletics, leisure pursuits and

other creative modes of living.

(vii) Competencies relating to ‘ learning to learn’

Empowering individuals to learn independently and to be sensitive and successful in responding to and managing change through a transformative

process, in a rapidly changing, complex and interdependent world.

(Extracted from : National Education Commission report, 2003)

4

v

4.0 Common Competencies of the subject Oriental Music

1.0 Displays paractical abilities in singing/playing identifying the fundamentals, techniques and principles in music.

2.0 Displays playing abilities identifying the nature of musical instruments.

3.0 Gets used to achieve the mind sets linked with happines in life through appreciation of music.

4.0 Protects the cultural heritage while developing the practical abilities in the elements of

indigenous folk music.

5.0 Acquires experiences about the musical elements connected with non classical music.

6.0 Acquires practiacal experiences on musical characteristics studying the specialities of traditions of drama.

7.0 Experiments in creative work in music.

8.0 While idendityfing the methods of recording music symbolically, develops basic competencies vital for dealing with universal works in music and taking

the elements of indigenous music to the world.

9.0 Studies technological equipment and physical , biological and phycological foundation of music and presents performing abilities more successfully.

10.0 Identify practically how a computer is used to learn, protect and create music.

11.0 Inclines to produce musical instruments to suit the modern market.

vi

(i) Nation building and the establishment of a Sri Lankan identity throughthe promotion of national cohesion, national integrity, national unity,harmony, and peace, and recognizing cultural diversity in Sri Lanka’s

plural society within a concept of respect for human dignity.

(ii) Recognising and conserving the best elements of the nation’s heritagewhile responding to the challenges of a changing world.

(iii Creating and supporting an environment imbued with the norms ofsocial justice and a democratic way of life that promotes respect forhuman rights, awareness of duties and obligations, and a deep and

abiding concern for one another.

(iv) Promoting the mental and physical well- being of individuals and asustainable life style based on respect for human values.

(v) Developing creativity, initiative, critical thinking, responsibility,accountability and other positive elements of a well- integrated and

balanced personality.

(vi) Human resource development by educating for productive work thatenhances the quality of life of the individual and the nation and contributes

to the economic development of Sri Lanka.

(vii) Preparing individuals to adapt to and manage change, and to developcapacity to cope with complex and unforeseen situations in a rapidlychanging world.

(viii) Fostering attitudes and skills that will contribute to securing an honorableplace in the international community, based on justice, equality andmutual respect.

National Goals Common Competencies of the subject Oriental Music

1 Displays paractical abilities in singing/playing identifying the fundamen-tals, techniques and principles in music.

3 Gets used to achieve the mind sets linked with happines in life throughappreciation of music.

5 Acquires experiences about the musical elements connected with nonclassical music.

10. Identify practically how a computer is used to learn, protect and

2. Displays playing abilities identifying the nature of musical instruments.

4. Protects the cultural heritage while developing the practical abilities in theelements of indigenous folk music.

6. Acquires practiacal experiences on musical characteristics studying thespecialities of traditions of drama.

11. Inclines to produce musical instruments to suit the modern market.

9. Studies technological equipment and physical foundation of music andpresents performing abilities more successfully.

7. Experiments in creative work in music.8. While idendityfing the methods of recording music symbolically, devel-

ops basic competencies vital for dealing with universal works in musicand taking the elements of indigenous music to the world.

5.0 Relationship between National Goals and Common Competencies of the subject Oriental Music

Competency Competency Level Subject Content Learning Outcomes Periods

Oriental Music - Syllabus - Grade 12

1

1.0 Displays practical abilities in singing/playingidentifying the fundamentals,techniques and principles in music.

1.1 Studies practically the fundamental qualities that should bedeveloped to present an advanced singing/ playing relevantto ragadhari music.

1.2 Involves in singing/playingidentifyinging the nature ofsimilarities and differencesamong ragas belonging to NorthIndian music.

1.3 Expresses ideas about theconcepts required to displayhigher order skills in classicalmusic and displays the technicaldexterity of them.

• Voice training exercises extending to lower and upper septects

• Body postures during singing(lung, throat, back ,face) andplaying and exercises related tomanual gestures.

• Sargams and madyalaya songsof Bhagesri and Ashawari ragas

• Demonstrating practically theorigin , details and notations ofthe pairs of ragas Desh-Thilakkamod, Bhairavi-Kalingada, and Ashawarie-Jaunapuri through special swaracombinations

• Details of prescribed ragas• Gayanasamaya and mukhyanga• Alapas and alapa types• Thanas and various types of

thanas.• Meend ,Gamak ,Kan, Murki,

Upaj, Jala,Mukada, Thihai,(theoretical andpractical)

1. Develops basic skills essential fora learner starting to studyragadhari music.Engages in singing ragadhari songs.

2. Develops practical skills studyingthe theoretical background andspecific features of prescribedragas.

10

29

54

12

02

02 02

08

6.0 Oriental Music - Syllabus



2

1.4 Explains the traits of the thala.Demonstrates thalas whileidentifying the nature ofvarious Local and indianthalas.

• Practically differentiating theragas through specific ensembles of swaras in prescribed ragas

• Ragavisthara or short segments of alapas.

• Various thanalankaras of thefour prescribed ragas.

• Concepts of the thala (gathi,mithi, laya and the parts of athalapada)

• Exercisesto identify Thrithal,Japthal,Deepchandi andDadara and SamagunaDeguna demonstration

• How awanaddaksharas of thethalas Trithal,Japthal,Deepchandi andDadara are played in Thabla

1 Acquires practical skill in specialaspects and techniques thatdemonstrate technical skills inNorth Indian ragadhari music

2. Diffrentiates the concepts relatedto the thala system of NorthIndian music and accquires theskill of using prescribedthalapada practically.

3. Analyses the foundation of thebuilding up of local thithrupaand acquires the skill of usingthithrupas belonging to dethithapractically.

02

04

04

04



3

2.0 Explores the variety ofuniversal music understanding its nature.

2.1 Collects information to indi-cate critically the common featurseand diferences in music.

2.2 Gets motivated to studyvarious styles of Indian musicpresenting critical ideas about itsvariations.

How the local thith thalasystem builds and practicalapplication of thith rupasbelonging to “dethitha”.

• Explaining music throughvarious definitions

• Differences in music and thecauses affecting them (language, climate, geographical factors)

• Different systems in worldmusic ( nature of oriental andwestern systems), principleof melody and harmony,mastering swaras.

• Nature of Indian music.• Similarities and differences between Northern and

Southern systems• Principles associated with the

North Indian singing styles(Drupadh, Dhamar,Chathuranga)

• Logical andcomparativeideas about the practicaland theoretical parts ofKhyal, Bhajan and Gazal

1.Argues that music is a commonuniversal art but differs due tovarious factors.

1. Displays practical skills inseveral necessary styles studyingtheoretical facts about the natureof Indian music and old singingstyles.

02

02

02

02

02

04

02

04



4

3.0 Displays playing skills understanding the nature ofplaying instruments.

3.1 Displays playing skills performingly

• A tharana song of Malkauns rag

• Playing key board by allstudents (as approprite forthe Advanced Level)

• Playing a current saralageeya or a piece of ragadharimusic or Tabla (Kayada,Palta , Mukhada)with aplaying instrument by studentsmajoring singing

• Knowledge about the placement of notes , structure andparts of the instrument that isplayed

• Exercises in tuning the instrument alone

• Playing all the prescribedpractical parts by studentsmajoring playing

Displays the skills of playing a keyboard instrument.Get to know the structure of anote playing instrument , tunes italone and displays playing skillsor displays the skill of simpleclassical parts.

12

12

02

02



5

4.0 Gets used to realize a mental status related to the joy of life appreciating music

5.0 Protects cultural heritages developing practical skills in local folk music.

6.0 Explores information about the history of music.

4.1 Involves in practical apprecia-tion discussing analytically thesongs based on ragadhari music.

5.1. Develops the skills of singing/playing folk songs presentinglogical ideas about them.

6.1 Explores information about the history of music in Sri Lanka.

Appreciation and singing/playing of a Sinhala or Hindisarala gee / film song based onragadhari music under theendorsement of the teacher.

Information about folk songs inSri lankaVedda songs as tribal songsDifferences in folk songs as upcountry , low country andsabaragamu (through songsassociated with rituals)Anaghathathmaka mehe gee(pathal, bamara , teeka ,seepada, )Mehe gee (nelum gee, osegayana, varam gee)

Evolution of music in Sri lankain the Kandyan period (Royalpatronage , institutions con-nected with the music in theroyal palace,Kavikaaramaduwa, influenceof Karnatak music.)

Sings/ plays and appreciates aSinhala or Hindi song with aclassical basis.

Collets information about SriLankan folk songs and singsselected folk songs.

Analyses the influence on the evolu-tion of music in Sri Lanka in theKandyan period.

06

02 02

02

04

06

03

10



6

7.0 Experiences the piecesof music related toapplied music and per-forming arts. Experimentsin creative work in music.creative work in music

7.1 Engages in singing /playingsongs presentinginformationabout performing traditionsinSri Lanka.

Educational publications of SriLankan musicians in the earlier pe-riod who had their involvement inmusic education in the decades50-60 and their content verybriefly(Gana vidya-M.G PereraSangeetha -PremawaasaHapuwalanaPeradiga Sangeetha Shasthraya-B.S WijerathnaBhavika Geetha- Vincent SomapalaKyala Geetha-Ananda JayasingheG em i na a t a k a- E d i r iv e e r aSarachchandraHela Gee Maga-W.BMakuloluwaSangeetha Sambhawaya-C.D.S.Kulathilaka)

The performing styles SokariKolam , Nurthi and NadagamSinging / playing of songs in thoseperforming traditionsNadagam music style (variousmelodies,Thalapada,instruments)Songs including

Gets motivated to read the bookswritten on music in Sinhala.

7.1 Explore informationrelated to theperforming traditions in Sri Lanka.Explains specialties in theNadagama tradition practically.Explains the ragadhari backgroundin Nurthi music

08

04

08

04



7

04

04

04

the components Thodayama,Innisaya, Pothe sinduwa andUruttuwa practically.Songs (practically)to testifyragadhari background, Dohorawaand vaditha (gath) geethaVarious methods of tuning theviolin.

Importance of the pitch, notes,range of notes and scale in acreation and practical experimenta-tion.

How musical instruments arecreated for sound levels.Violin family, brass family

Notationing using Komalanishadhaya and Komala gandharayaas pitches. B flat, E flat, Major scales

Notationing using madyamaya andpanchamaya as pitchesF/G Major / Minor scales

Inquires into the methods of using violinin applied music.

Involves in creations placing variousnotes and pitches.

Describes families of musicalinstruments created according tovarious sound levels.

8.0 Experiment in creations of music

9.0 Identifies the ways of rep-resenting music by symbolswhile developing basic compe-tencies essential to appreciateuniversal works in music anddirect local works in music tothe world.

8.1 Involves in creative work logically illustrating how rhythm, timing and tempo are important in a notational creation.

8.2 Discusses how various levels of sounds are important in creative work.

9.1 engages in making notations withthe placement of notes aspitches.



8

06

10

10

37

Utility of the computer in musicalcreations, audition and relevantequipment

Introducing computer

The normal computer devices andexternally connected peripherals

Hardware (soundcard, midi key-board, midi cables music software)

Tape recording of music, creat-ing music, editing and distributionof music

Use of intrnet for musiceducation

Music education through variousweb sites.

Evaluation

10.1 Uses modern technological equipment in creative works in

music examining how they are utilized in creations and studies

10.0 Presents performing skills more successfully study ing physical and biologi

cal conditions related to music

1Presents logical ideas about creation of music using the computer and learning music by the internet


9

1.0 Displays practical abilities in singing/playingidentifying the fundamentals,techniques andprinciples in music.

1.1 Engages in singing/playing withtechnical characteristics identifying the nature of several ragaswith various ensembles of notesand shapes belonging to NorthIndian music.

1.2 Explains the homology of a pair of homologous ragas practically

1.3 Displays by singing/playing a Vilambalaya Khayal song with special techniques.

• Sargams of the ragasJayajayawanthi

• Exercising notes of theprescribed ragas with gamakand mind .

• Madyalaya songs belonging tothe prescribed ragas and theirspecial ensembles ofnotes,extension of ragas withpurvalapas and badath alapas

• Singing / playing variousthanalankaras.

• Explaning the homology of thepair Bhairawa- Kalingadaragas practically throughdetails of ragas, extension ofnotes and special ensemblesof notes

• A vilambalaya song belongingto one of the ragas Bhagesri ,Desh, Ashawari,Jayajayawanthi and Bhairava

with purvalapa, madhyalapa,bolalapa and thanalankara.

1. Sings ragadhari songs displaying technical skills.

2. Develops practical skills studying the theoretical backgroundand specific features of prescribed ragas.

Indicates practically the similaritiesand differences between twohomologious ragas.

Displays technical skills by singing/playing a Vilambalaya Khayal songwith special techniques.


12

03

30

12

08

14


10

2.0 Explores the variety ofuniversal music whileunderstanding its nature

3.0 Displays playing skillswhile understanding thenature of musical instru-ments.

1.4 Practices practically the thalapadas relating to vilambalayawhile comparing them with oneanother.

2.1 Explores the nature of musicalcreations in western music andreviews the information aboutmusicians who contributed to them.

3.1 Understands the nature ofwestern musical instruments andclassifies them.

• Exercises to identify Ekthal ,Thilawada, and illustrating“samaguna”

• Comparing above thala padswith other simultaneous thalapadas

• Illustrating Ekthal , Thrithal by the Tabla.

• Information about themusicions Mozart,Beethovenand Bark and the nature ofsymphony Nature of music inBallet and Opera

• Exercises in listening to music with appreciation.

Principle of string, wind andpercussion and identifing themusical instruments used inthe school.

• Acquires the skill of using thala padas in the North Indian ragadhari music practically.

Gets to know the great and esteemedwestern musicians and evaluateswestern works in music comparatively.

Identifies and classifies western musi-cal instruments.


10 08 04

08

04 04


11

Gets to know classical musiciationsand gets used to appreciate theirworks.

5.1 Presents ideas about “Se Gee” and displays the skills of singing /play ing.

6.1 Explores information about theorigin and evolution of Indian music

4.0 Gets used to realize amental status related to the joyof life appreciating music.

5.0 Protects cultural heritagesdeveloping practical skillsin lacal folk music

6.0 Explores information about the history of music

Gazal style of singing (ustadPankaj Udas, Jagjith Singh )

• Khyal style of singing (ustadAmeer Khan, ustad BadegulamAlikhan,Parveen Sulthana,Pandith Jasraj singh)

• Aspects of playing the tabla (Ustad Allah Rakkha Ustad Shakeer Hussain)• Appreciation of playing sitar , esraj, santur, flute, violin and shehenai.

• Prashasthi with the “mudrappadaya”• “ Hatan kavya” with two thalarupas• Sevula vannama and the specialty of its thalarupa• Ganapathi saudama asne

• How Vedic chants gave origin to music• Influence of tribal songs for the evolution of North Indian music

Appreciates the creations of north In-dian musicians of supreme calibre andgets motivated to study their singing /playing

Appreciates the aspects of local folkmusic.Engages in singing /playing to acquirethe ability of adopting themperformingly.

Reviews the causes that affected thegrowth and evolution of Indian music

Evaluates several Indian musicians


10 08 08 04 04

28

12

04

04 04 04


12

7.1 Explores information logicallypresenting ideas about the creationsin applied music.

7.0 Experiences the pieces ofmusic related to applied musicand performing arts.

• Influence of poetry on the evolution of North Indian music• Influence of the endeavours of musicians on the evolution of North Indian music

• Service rendred by the scholars Sarangadeva, Ameer Khushru, Bhathkhande, and Professor Nigam for music

Differences caused in the film music of this country in diffrent periods (south Indian influence in the early period, music in the film Rekhawa, criticism from the view point of the music in Sathsamudura)• Brief discussion about the music directors and musical ceations in the prescribed films.

• Singing/Playing a film song selected on the option of the teacher

Olu nelum- Rekhawa

Criticies the turning points in film mu-sic in Sri Lanka.

Sings and appreciates film songs.


08

06 04


13

Koulan handai-Mathalan Kate kiri suwanda-SandeshayaGalana gangaki- Ranmuthuduwa

Sinindu sudu muthu- SathsamuduraUdumbara-Bambaru EvithKamalashani-Hithaka pipunamalKuda game-HulawaliUnmaada sithuwam- Ektem geGumugumuwa vadule-Visidela.

• Interlude and Introduction• Understanding through melo- dies the concepts bits, counter points chords and adlib.

• Creating songs with the above parts

• Creates a piece of music forplaying collectively


8.0 Experiments in creations of music

8.1 Investigating the content of a“Sarala geeya” creates songs withspecific parts.

8.2 Creates a piece of music for playusing the improvised musical instru-ments available in the school

Produces new creations reviewingthe parts of a “Sarala geeya”

Experiences a communal creation ofa piece of music

04

04 10

04

10


14

Competency Competency Level Subject Content Learning Outcomes

.

Periods

•Symbols used in the notation ofwestern music

(f,ff, p.pp.slur,staccato,legato,pizzicato)•Practicing the use of abovesymbols through a simple notation.

• practicing the use of notationalmethods in modern popular musicand symbols practicically througha simple notation.

Activities of harmonizing notes andhow choreds develop, chords andharmony

How we hear musicHow the larynx functions duing sing-ingCauses affecting the qualityof voice.

Relationship between intelligenceand music (Through the Howardgardner’s multiple intelligence)

9.0 Identifies the ways ofrepresenting music by symbolswhile developing basic compe-tencies essential to appreciateuniversal works in music anddirect local works in music tothe world

10.0 Presents performing skillsmore successfully studingphysical and biological condi-tions related to music.

11.0 Studies the psychologicalbasis of music and makes lifemore successful

9.1 Writes musical notations usingvarious symbols

Examinines the physical conditions of musical notes and acquires the ability of harmonizingnotes.

10.2 Studies the biological conditionsconducie for music and presents thepractical abilities more successfully.

11.1 Studies the psychological factsrelated to music and assimilate theirmerits to the life of self

Identifies the symbols used in thenatations of western music

Uses the notationing techniques inmusic as required by the modernapplied music.

Identifies the method ofharminizing one note with another

Explains giving biological reasons,why the ear and the larynx are im-portant in the study of music.

Analyses the relationship betweenmusical wisdom and intelligence

02

04

04

06

10

10

15

7.0 Assessment and evaluation

The assessment and evaluation of the subject Eastern music occurs during the classroom teaching and learning process itself. Students should

be assessed using appropriate criteria for the relevant activity. Identification of the abilities of students and reinforcing them providing with necessary

stimulus should be done here.

There is a possibility for assessment and evaluation in each and every activity given to students. The instances where students explore things in

groups can be used for assessment and, the instances where they forward their findings and elaborate the ideas can be used for evaluation.

Teacher should bring all the students in the class at least to the minimum competency level required by observing them closely while they are engaging

in activities and identifying their abilities disabilities strengths and weaknesses. This particular process is called assessment. The evaluation can be done

by judging the competency levels that the students have reached and analyzing their results when they forward their findings and elaborate them.

Accordingly, it is clear that groups who present their findings in front of the whole class as a collaborative effort can be used as the first section of

evaluation. The attempt made to correct, improve and elaborate those ideas can be considered as the base for the second section of evaluation.

16

8.0 School policies and programmes

Mathematics and science subjects are needed to develop critical thinking of the student. As well as it is essential to teach aesthetic subjects to develop the

ability of appreciation and creativity of the students. It is expected to develop the students’ practical skills which are connected with the subject music and, to build

up balanced personality developing favourable attitudes. By combining these activities with the subject matters in the syllabus the students are given the opportunities

to get learning experiences which they are unable to experience in the classroom. In view of this situation, it is important to expose the students to co-curricular

activities mentioned below in order to provide them with practical experience.

1. Singing competitions and competitions of playing musical instruments.

2. Public performances of singing and playing musical instruments

3. Competitions of children’s drama.

4. Establishing Aesthetic Clubs in Classroom level

5. Class level short concerts

6. Annual school concerts

7. Improvising substitution instruments through novel creative activities

8. Concerts of songs of devotion

9. Creations using computer technology

10. Activities related to Singing and playing Instruments at the morning assembly

11. Special musical items around the school area

12. Items related to singing and playing instruments in state festivals

13. School bands.

These activities allow students to gain specific experience, by combining with the syllabus. Therefore the students can develop especially mental readiness and

physical fitness which are important for them in their regular learning process.

17

9.0 Syllabus Committee

ConsultantSudath Samarasinghe Director, Department of Aesthetic Education

Internal Resours personsJanakie pathiranage Senior Lecturer ,Department of Aesthetic Education

External Resours persons

W.V.G. Vithanage Duputy Zonal Director (Retired)Zonal Education Office. Rathnapura

Kapila Meddegoda Assistant Director ,Resourse Center, Meegoda

K.K.S.Jayawickrama Assistant Director (Retired)Zonal Education Office. Piliyandala

R.D. Perera ISA. Zonal Education Office. Kandy

E.A.Premasiri ISA. Divisional Education Office. Kaluthara.

Ranjith Priyantha Silva Teacher Service 1, Wegowwa kanishta vidyalaya., MinuwangodaLanguage editingDr. C.L. Amarasekara Former Dean, Faculty of Social Sciences and Languages,

University of Sabaragamuwa

Syllabus - nie.lk OrienMusic.pdf•Meend ,Gamak ,Kan, Murki, Upaj, Jala, Mukada, Thihai,(theoretical...

Documents

Transcript of Syllabus - nie.lk OrienMusic.pdf•Meend ,Gamak ,Kan, Murki, Upaj, Jala, Mukada, Thihai,(theoretical...